With Garcia and Hunter working in overdrive and building the core of the band’s classic songbook, Bob Weir upped his output with new songwriting partner John Perry Barlow. Scoring hits for the Dead in the sense of the radio and pop charts, including “Truckin,” “Uncle John’s Band,” and “Casey Jones,” they also produced the deeper kinds of hit, songs that could be (and were) played around campfires, back porches, and college dorms. With Robert Hunter’s lyrics at the center, Garcia’s songs simplified from psychedelic prog-rock to folk and country-grounded music, and the Grateful Dead soon released Workingman’s Dead (1970) and American Beauty (1970) in rapid succession. Constanten would depart after barely 12 months, but the lineup would generate the indelible Live/Dead (1969), a live album drawn from shows at San Francisco’s Avalon Ballroom and the Fillmore West. Joining a year later was Tom Constanten (keyboards), Lesh’s former classmate at Mills College, where the two studied under composer Luciano Berio. Shortly thereafter, the band added Mickey Hart (drums, percussion), who helped the Dead realize their psychedelic musical vision with new rhythmic intensity and commitment to practice. Joining in autumn 1967 was full-time collaborator Robert Hunter (lyrics), an old friend of Garcia’s. Though they’d written (and abandoned) a number of ambitious songs, the band broadened their scopes in every way: building their live shows into jam-linked suites, using the recording studio as an instrument on the ambitious Anthem of the Sun (1968) and Aoxomoxoa (1969), and expanding their lineup. Having already a set a course of constant musical change, it was in the next years that the Grateful Dead would begin to blossom both onstage and in the studio. Signing to Warner Brothers in late 1966, they released their self-titled debut later that spring, consisting mostly of cover songs, with only one extended jam. A collaborative tool for the Grateful Dead, psychedelics were an ingrained part of the band’s mythos, occasionally (but only occasionally) to their chagrin. As the band settled in San Francisco’s Haight-Ashbury, acid simultaneously became both illegal and a global trend, symbolically if not always literally. The newly christened Grateful Dead found an unusual and appropriate patron in psychedelic chemist and sound engineer Augustus Owsley Stanley III, known as Bear, whose profits sustained them as they began to write their own songs and hone their conversational playing style in 1966. Appearing in many cultures, it is a folktale in which the protagonist resolves the debt of a deceased stranger, and later receives karmic repayment from their spirit incarnate: the Grateful Dead.ĭebuting with their new name at the first public Acid Test thrown by author Ken Kesey and the Merry Pranksters in December 1965, the relationship cemented the band’s part in the multidisciplinary Bay Area arts scene starting to flourish around the use of still-legal LSD. They debuted in May of 1965 and quickly drafted in Garcia’s friend, the lapsed experimental composer Phil Lesh (bass, vocals).ĭiscovering a single by another band called the Warlocks-most likely a Massachusetts garage rock quintet-the now-former California Warlocks resorted to stoned bibliomancy for their new name, picking “Grateful Dead” at random out of a dictionary. Fronted by Ron “Pigpen” McKernan (organ, vocals, harmonic, and later percussion), the blues enthusiast who’d urged them to go electric, the new band also included Garcia’s occasional substitute teacher Bob Weir (guitar, vocals) along with Bill Kreutzmann (drums, percussion). Assembling a jug band with his coworkers at the Menlo Park music store where he taught, the happily sloppy Mother McCree’s Uptown Jug Champions plugged in and transformed into the Warlocks by 1965. Creating an artistic ecosystem all their own, the Grateful Dead would transform American music and arguably even America itself.Īfter a comically disastrous stint in the Army and discharge in late 1960, Jerry Garcia (guitar, vocals) had spent an intense four years immersed in traditional American music, turning himself into a virtuoso acoustic guitarist and banjoist. Never playing the same setlist twice (except that once), the Dead’s musical legacy remains unfathomably rich, spread across a combined body of live and studio recordings. Emerging as a vessel for a vibrant global counterculture, they would create an unparalleled original songbook through 30 years of recording and touring. Fusing rock and roll, folk, and jazz with avant-garde, visual, and literary traditions-and virtually inventing a new way to play music in the process-they became one of the most popular, enduring, and influential bands in American history. Formed as a quintet in California in 1965, the Grateful Dead became as much a folktale as the story from which they drew their name.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |